It must be tough for a young rock band to find an identity in 2013. If they emulate their heroes they’ll be labeled a retro band, while avoiding their basic instincts may lead to Green Day-esque fake accents and mandatory goofy shark fin haircuts.

On their debut release, Philadelphia’s Horsecops sidestep those potential landmines and deliver a welcome dose of oomph.

Produced by Horsecops bassist Ben Schwartz, the “Dissolve” e.p. is a near perfect combination of garage band drive and top drawer musicality. Free of the slick, overproduced sheen that has sterilized many potent bands, “Dissolve” is a raw, invigorating rock record.

“Can’t Go On” is a great guitar fuzzathon in the tradition of the MC5, Husker Du and early Foo Fighters, with vocalist Josh Lesser pouring out a vocal reminiscent of Sting’s early punk forays with The Police. Drummer Nick Myers drives the song with steam hammer precision while guitarist Conor O’Mara’s tasteful lead lines are concise and melodic.

“Dissolve” and “Finale!” are gear switchers but compelling nonetheless. Along with possessing the writing chops of more seasoned musicians, Horsecops know how to play as a band. The arrangements for “Dissolve” and “Finale!” aren’t fussy, but the interplay is as architecturally sound as anything Billy Corgan has ever cooked up for the Smashing Pumpkins at their most visceral.

With “Dissolve,” Horsecops have laid out what could be the blueprint for an interesting career.

Classic album: Automatic for the People

Artist: R.E.M.

Label: Warner Bros.

Rating: 5 stars out of 5

To some, the 1992 release of R.E.M.’s “Automatic for the People” proved to be the zenith of the band’s recording career. The album was universally hailed by critics as a masterpiece and it sold about a gazillion copies to boot.

R.E.M. started out as a sideways combination of new-wave indie folk filtered through a 1960s rock prism. From their full-length debut “Murmur” in 1983, R.E.M. pulled off the neat trick of always getting good reviews, keeping their fan base happy while at the same time generating greater sales with each successive release.

Usually when a band becomes successful, their initial fan base accuses them of selling out, but for whatever reason it was OK for R.E.M. to grow up in public.

In 1991, the band decided not to tour behind their “Out of Time” album, which contained their surprise hit “Losing My Religion,” among others. Feeling they’d tapped into some great reservoir of songwriting juice, they immediately started working on “Automatic for the People.” Fans were upset by the band’s decision not to tour, but in retrospect it was a genius move.

R.E.M. decided to float a curve ball for the first single with “Drive,” possibly the eeriest tune to reach the upper levels of the charts in 1992. Between the tsunami of grunge oozing out of Seattle and the ever present boy bands and pop tarts, the stark “Drive” was an anomaly — complete with a string arrangement by Led Zeppelin’s John Paul Jones.

Of course the big hit from “Automatic” was the simple, Stax-like ballad “Everybody Hurts.” Serving as a rallying cry for some and a source of endless derision for others, “Everybody Hurts” is the song that rightly or wrongly cut all ties with R.E.M.’s status as an underground band.

Truth be told, “Everybody Hurts” — along with “So. Central Rain” and “Walk Unafraid” — is one of Michael Stipe’s greatest achievements as a singer.

Another “Automatic” track that would with time become a massive hit was “Man on the Moon” — a paean to comedian Andy Kaufman. With imagery of heaven as a truck stop and Kaufman wrestling beyond the ether, “Man on the Moon” became the great stadium sing-along for the remainder of R.E.M.’s life as a touring band and enjoyed a second life when the Kaufman biopic of the same name was produced seven years later.

Radio hits and stadium raisers aside, the strength of “Automatic” lies in its more subtle moments. “Try Not to Breathe” is a lilting track driven by guitarist Peter Buck’s acoustic excursions and bassist Mike Mills’ plaintive backing vocals. Dealing with the impending demise of an elderly loved one, “Try Not to Breathe” proved that rock music could grow up gracefully.

“Star Me Kitten” is a rather lascivious celebration of love that somehow manages to sound like a starry summer night by the lake, and “Monty Got a Raw Deal” manages to rock a little Montgomery Clift into the proceedings.

“Automatic for the People” is the album people who know nothing about R.E.M. own, but that’s no reason to deny yourself this great piece of pop art.

Jon Dawson’s album reviews appear every Thursday in The Free Press. Contact Jon at 252-559-1092 or jon.dawson@kinston.com. Purchase books, music and beepers at jondawson.com.